Thank you for the great fun dear:)))
two children in the session I managed super modeli.Nie earlier but now you can add more so let Santas will be colorful and festive.
Tuesday, December 28, 2010
Simpsons Streaming English Subtitles
photo Family and children Adam and Oles
Thank you for the great fun dear:)))
two children in the session I managed super modeli.Nie earlier but now you can add more so let Santas will be colorful and festive.
Thank you for the great fun dear:)))
two children in the session I managed super modeli.Nie earlier but now you can add more so let Santas will be colorful and festive.
Sunday, December 26, 2010
How Fast Are 4hp Outboard Motors
CHILDREN'S PHOTOGRAPHY-Winnie 12 days
Malenki, 12-day newborn babies younger Kubuś.Beda yet but it's probably in New Roczku: ) Welcome soon to my blog.
Malenki, 12-day newborn babies younger Kubuś.Beda yet but it's probably in New Roczku: ) Welcome soon to my blog.
Friday, December 3, 2010
Hasp Emulator License Manager
Chris Niemczyk. On the volcano
Who has not lived in Krakow and had not experienced the divine decadence of the 60s and 70 does not know what life really is. Krakow infiltrated all kinds of art, spirit seethed contestation, not only the vapors of the absurd, whining troubled souls. In such an atmosphere lived Christopher Niemczyk, the hero of the exhibition, which is precisely in the Gallery for the Encouragement of Lublin.
I do not know how it was then in Cracow, was born after the year 80tym, but the curators of the exhibition - Ewa Tatar and Dominik Kuryłek - did much to recreate the atmosphere and the light show a remarkable figure of the artist. Christopher Niemczyk, the enfant terrible of Krakow's artistic community, moral demoralizator, nonconformist, scandalous writer, akcjonista, painter, musician. He practiced love with men, adored woman, treat your body and your life as a continuous performance (as if it digesting the inner fire, a kind of impossible to harness the energy). Sculptor of everyday life, which ubarwiał gray reality of moving boundaries PRLowską private-public, walked the streets with a wooden bird on his shoulder or with the flap przyczepionymi the Navy. It was a rough-rebel, did not fit into any framework. Momentary affair with the environment of Cracow avant-garde (and the presence of such basins as the Polish Writers' Association, Gallery and Jazz Club Krzysztofory Helikon) ended up throwing him out of the imminent margin. Kantor adored him, but he could stand his restless nature: Do not think that any society would be able to accept it, he would say.
forgotten his creativity and became a legend przyblakła for two curators point of departure for an intriguing exhibition, in which the main character is hidden behind the works of others, emerges from them like a ghost called the mystical seance. Not without reason Ewa Tatar identified the exhibition "The Volcano" as a phantasmagoria, and the magic machine to carry spirits. Curators do not give customers an artist on a tray, tell them to be inferred and go the same intellectual process, which they had to go by constructing an exhibition. In the gallery there are two images Niemczyk, his photographic portraits by the likes of Eustachy Kossakowski, other "exhibits" are carefully selected certificate and the metaphor of his presence, his friendship, inspiration and fascination. Niemczyk Painting from the 60s - Expressive portraits of highly stressed, outline the eyes, like new figuration, some Neo-Baroque, a little stamp - is perhaps the art of high-flying, but indicates the total sample being an artist and bubbling with creativity, which materialized in almost every medium. With varying degrees of success. It seems to me that Niemczyk had great intuition and an extremely expertly operated absurdities of reality - his actions, even those on the border of good taste, it's probably not a lunatic performances (for which she wanted him to have power). Fared equally well in the matter of literary writing in a very juicy, blunt, Mannerist.
exhibition is a mosaic structure, composed of traces and fragments taken out of memory, images, projections, photographs, objects, music, documents. Property Andrzej Szewczyk, entitled "Before his death," functions as a metaphor for tension and failure, literary passion Niemczyk and unused potentialities. Broken pencils can be read as a reference to the literary works of the artist's life.
Niemczyk wrote in the 60s novel titled "The Courtesan and the chicks or Distorting mirror or otherwise of a passionate study of chaos," . It was almost immediately hailed as a cult, it was compared with the works of Witkiewicz, Schulz, Gombrowicz, and even Dante. Despite the author's effort has not been released, but circulated in manuscript arousing considerable ferment in Krakow. Ironically, it was published in Paris in late 90s Niemczyk, although he took part in the preparations to the publishers, not live to see the finalization. In Poland, released by the corporation ha! Art three years ago. She is accompanied by some biographical developed by Anka Ptaszkowska featuring exclusive footage from the life Niemczyk (diary, letters, photographs) and theoretical recognition of his work (interviews, critical texts). This remarkable dwuksiąg can be purchased at the Gallery for the Encouragement.
directly to the artist's attitudes relate prepared specially for this exhibition, a concert-performance team Krakow Saliva (Dziadkiewicz & Jastrubczak) and film etude Zorka Wollny entitled "The Courtesan and the chicks." Musicians put the accent on eksperymentalność Niemczyk practices. Test performed at the opening of the song "Lying and develops slowly in looping unbearable. Zorka Wollny has shown in his film, splashes of decadence in today's early edition of the life's work, both invoking Niemczyk, "courtesan ..." and the specific atmosphere in which they lived and what its creator was not able to liberate themselves. Niemczyk was a slave of his images, he stubbornly teatralizował his life. He painted his face with thick paint or paste impastami treating it almost as background image informel. Actress Zorka Wollny, spinning madly, poured water, alcohol (?) And sprinkled the white dust, like the auto-creations Niemczyk.
Prints sketch Kantor from the "boys" and prints "Zampano III" by Andrzej Wroblewski, photo from the performance Zbigniew Warpechowski "A Prayer for nothing", portraits of the former Witkacy issue of "Art" mark the zone of influence in what remains Niemczyk. Indicate the nature of the artist's life, nihilism, waggish approach to reality, refusing to grow up. Such a life could not end well. In the song "Darkness" by Peter Mark, sung by Matthias Maleńczuk scrolls foreboding disaster (begins with the words: More light pulse beats more slowly, dying last breath of life, In the land of darkness, darkness is born.) At the exhibition - by Ewa Tatar and Dominic Kuryłka - could not miss silhouette artist Andrzej Partum (immortalized in the film Robakowski), who, like the author of "Courtesans .." slipped out schemes. The exhibition shows the relationship Niemczyk with other artists of that era - know with Warpechowskim, Szewczykiem, Stazewski (immortalized in a photograph by Rolke), Kantor - each with a different character, but everyone in some way significant.
other artifacts gathered in the exhibition - melorecitation "Howl," Ginsberg (the whole song - the flagship manifesto of the counterculture - the lid pillar in the gallery), a piano concerto by Tchaikovsky and Rachmaninov, the film "Bitter Rice" Giuseppe de Santis, photo cherished by Niemczyk Italian actress Lea Padovano - show the artist's fascination with and throw light on the sensitive soul.
How to make an exhibition of the artist, after which almost nothing left, but a legend? It seems that "The Volcano" is the answer to this question. The exhibition is an attempt to draw a symbolic biography. It consists of intuition and insinuations, which are more obscure than reveal and thus to further enhance the legendary rebel and dandy shell. It is also an attempt to capture the spirit of the era, marked by outstanding individualities as Kantor, Wroblewski, Stażewski, Warpechowski, Ginsberg, Partum, Krasinski. After watching the show got me thinking, that was the greatest work Niemczyk Niemczyk, throughout envelope and its scandalous odpryskach genius in various media. The exhibition's title - "The Volcano", refers to the illegal piwiarenki Bracka, which he ran Niemczyk and by the way the hotel for pigeons, which in the last moments of life were his only companions.
"On the volcano. Christopher Niemczyk "
Curators: Ewa Malgorzata Tatar, Dominik Kuryłek
Lublin, Lublin Gallery Society for the Encouragement of Arts Lipowa 13 (entrance from the side of the Plaza)
November 26 - December 11, 2010 
Who has not lived in Krakow and had not experienced the divine decadence of the 60s and 70 does not know what life really is. Krakow infiltrated all kinds of art, spirit seethed contestation, not only the vapors of the absurd, whining troubled souls. In such an atmosphere lived Christopher Niemczyk, the hero of the exhibition, which is precisely in the Gallery for the Encouragement of Lublin.
I do not know how it was then in Cracow, was born after the year 80tym, but the curators of the exhibition - Ewa Tatar and Dominik Kuryłek - did much to recreate the atmosphere and the light show a remarkable figure of the artist. Christopher Niemczyk, the enfant terrible of Krakow's artistic community, moral demoralizator, nonconformist, scandalous writer, akcjonista, painter, musician. He practiced love with men, adored woman, treat your body and your life as a continuous performance (as if it digesting the inner fire, a kind of impossible to harness the energy). Sculptor of everyday life, which ubarwiał gray reality of moving boundaries PRLowską private-public, walked the streets with a wooden bird on his shoulder or with the flap przyczepionymi the Navy. It was a rough-rebel, did not fit into any framework. Momentary affair with the environment of Cracow avant-garde (and the presence of such basins as the Polish Writers' Association, Gallery and Jazz Club Krzysztofory Helikon) ended up throwing him out of the imminent margin. Kantor adored him, but he could stand his restless nature: Do not think that any society would be able to accept it, he would say.
forgotten his creativity and became a legend przyblakła for two curators point of departure for an intriguing exhibition, in which the main character is hidden behind the works of others, emerges from them like a ghost called the mystical seance. Not without reason Ewa Tatar identified the exhibition "The Volcano" as a phantasmagoria, and the magic machine to carry spirits. Curators do not give customers an artist on a tray, tell them to be inferred and go the same intellectual process, which they had to go by constructing an exhibition. In the gallery there are two images Niemczyk, his photographic portraits by the likes of Eustachy Kossakowski, other "exhibits" are carefully selected certificate and the metaphor of his presence, his friendship, inspiration and fascination. Niemczyk Painting from the 60s - Expressive portraits of highly stressed, outline the eyes, like new figuration, some Neo-Baroque, a little stamp - is perhaps the art of high-flying, but indicates the total sample being an artist and bubbling with creativity, which materialized in almost every medium. With varying degrees of success. It seems to me that Niemczyk had great intuition and an extremely expertly operated absurdities of reality - his actions, even those on the border of good taste, it's probably not a lunatic performances (for which she wanted him to have power). Fared equally well in the matter of literary writing in a very juicy, blunt, Mannerist.
exhibition is a mosaic structure, composed of traces and fragments taken out of memory, images, projections, photographs, objects, music, documents. Property Andrzej Szewczyk, entitled "Before his death," functions as a metaphor for tension and failure, literary passion Niemczyk and unused potentialities. Broken pencils can be read as a reference to the literary works of the artist's life.
Niemczyk wrote in the 60s novel titled "The Courtesan and the chicks or Distorting mirror or otherwise of a passionate study of chaos," . It was almost immediately hailed as a cult, it was compared with the works of Witkiewicz, Schulz, Gombrowicz, and even Dante. Despite the author's effort has not been released, but circulated in manuscript arousing considerable ferment in Krakow. Ironically, it was published in Paris in late 90s Niemczyk, although he took part in the preparations to the publishers, not live to see the finalization. In Poland, released by the corporation ha! Art three years ago. She is accompanied by some biographical developed by Anka Ptaszkowska featuring exclusive footage from the life Niemczyk (diary, letters, photographs) and theoretical recognition of his work (interviews, critical texts). This remarkable dwuksiąg can be purchased at the Gallery for the Encouragement.
directly to the artist's attitudes relate prepared specially for this exhibition, a concert-performance team Krakow Saliva (Dziadkiewicz & Jastrubczak) and film etude Zorka Wollny entitled "The Courtesan and the chicks." Musicians put the accent on eksperymentalność Niemczyk practices. Test performed at the opening of the song "Lying and develops slowly in looping unbearable. Zorka Wollny has shown in his film, splashes of decadence in today's early edition of the life's work, both invoking Niemczyk, "courtesan ..." and the specific atmosphere in which they lived and what its creator was not able to liberate themselves. Niemczyk was a slave of his images, he stubbornly teatralizował his life. He painted his face with thick paint or paste impastami treating it almost as background image informel. Actress Zorka Wollny, spinning madly, poured water, alcohol (?) And sprinkled the white dust, like the auto-creations Niemczyk.
Prints sketch Kantor from the "boys" and prints "Zampano III" by Andrzej Wroblewski, photo from the performance Zbigniew Warpechowski "A Prayer for nothing", portraits of the former Witkacy issue of "Art" mark the zone of influence in what remains Niemczyk. Indicate the nature of the artist's life, nihilism, waggish approach to reality, refusing to grow up. Such a life could not end well. In the song "Darkness" by Peter Mark, sung by Matthias Maleńczuk scrolls foreboding disaster (begins with the words: More light pulse beats more slowly, dying last breath of life, In the land of darkness, darkness is born.) At the exhibition - by Ewa Tatar and Dominic Kuryłka - could not miss silhouette artist Andrzej Partum (immortalized in the film Robakowski), who, like the author of "Courtesans .." slipped out schemes. The exhibition shows the relationship Niemczyk with other artists of that era - know with Warpechowskim, Szewczykiem, Stazewski (immortalized in a photograph by Rolke), Kantor - each with a different character, but everyone in some way significant.
other artifacts gathered in the exhibition - melorecitation "Howl," Ginsberg (the whole song - the flagship manifesto of the counterculture - the lid pillar in the gallery), a piano concerto by Tchaikovsky and Rachmaninov, the film "Bitter Rice" Giuseppe de Santis, photo cherished by Niemczyk Italian actress Lea Padovano - show the artist's fascination with and throw light on the sensitive soul.
How to make an exhibition of the artist, after which almost nothing left, but a legend? It seems that "The Volcano" is the answer to this question. The exhibition is an attempt to draw a symbolic biography. It consists of intuition and insinuations, which are more obscure than reveal and thus to further enhance the legendary rebel and dandy shell. It is also an attempt to capture the spirit of the era, marked by outstanding individualities as Kantor, Wroblewski, Stażewski, Warpechowski, Ginsberg, Partum, Krasinski. After watching the show got me thinking, that was the greatest work Niemczyk Niemczyk, throughout envelope and its scandalous odpryskach genius in various media. The exhibition's title - "The Volcano", refers to the illegal piwiarenki Bracka, which he ran Niemczyk and by the way the hotel for pigeons, which in the last moments of life were his only companions.
"On the volcano. Christopher Niemczyk "
Curators: Ewa Malgorzata Tatar, Dominik Kuryłek
Lublin, Lublin Gallery Society for the Encouragement of Arts Lipowa 13 (entrance from the side of the Plaza)
November 26 - December 11, 2010
Wednesday, December 1, 2010
Tuesday, November 23, 2010
Replace Hangers Drawstring Curtain Rod
history of a girl. Alevtina Kakhidze
Alevtinie Kakhidze envy. She found a way to fulfill their dreams and meet the (tame?) Desire to have (not having - in the classic sense of the word). She began by drawing fishnet goods from luxury boutiques in Maastricht. She came from Ukraine and it stunned the glitz western consumerism. Drew objects that intrigued her with his bizarre, made up utility - ring on handkerchiefs, postcards racks, Newspaper containers. In the Soviet Union had set up in a queue to buy a table - and there, in the western paradise, were not only tables of all colors and textures but also the most bizarre ornaments to these tables. The drawings, which have resulted from the aspiration of the poor citizen of the East West culture of excess, not a single record. Became the basis for numerous installations were photocopied thousands of copies (by analogy with mass production), these specimens landed later in the exhibition showcases not only galleries but also in the shop Prada. Drawing from the small and relatively cheap things Alevtina dizajnerskich moved to a more stylish then. Discovered the auction houses - fascinated her cup Flora Danica valued at 60 thousand. euro - so it was a series of old books. The value of each figure corresponds to the real value of the drawn object. Fun
Alevtiny like fun in the magic pencil - but exactly the opposite. In the fairy tale that's what drew became real, au Alevtiny what turns into a real figure.
Alevtina says (actually repeats after his professor): In today's world we can buy everything, we have a lot of things, but this is disgusting. At some point you start thinking that more luxury will be getting rid of things.
Luxury empty space leads to the art gallery. Of course you can buy art and people do it for various reasons. Alevtina itself determined collector. But there is a collector of the higher caste - can be anything you draw. Cindy Scherman wants to work - it redraws. Cindy has made only three editions of this project - so Alevtina kseruje his drawing two more times. What next awaits our heroine in her quest for exotic, attempt to touch the untouchable? Some time later, Alevtina invented the it to fly private plane. I flew, accompanied by reporters, photographers and bloggers. Allowed themselves the luxury of no-documentation, and thus the aerial journey was not any figure. Documentation left his comrades.
And this is a short history of a cunning girl from the Eastern bloc, which took a hit the world of western art.
You can look at it in terms of controlled rebellion, the virus in the system, which over time is its familiar and przygarnięty, there is some contradiction and a paradox, of which Alevtina well aware. You can not surely refuse her passion and indefatigable energy. The life of an artist who travels around the world still is not easy for relatives and actually subject to constant negotiation. For several years, Alevtina conducts negotiations with her husband. After numerous travels through residential centers in the world the couple established their own center of artistic residencies. It was a good way to keep her at home, finally. It is located in Muzychi near Kiev. This year's projects are not the most important criterion for the selection of residents. Important is the opportunity to spend time together and - can also - create art.
staged Alevtiny Kakhidze
lecture "The Evolution of consumer desires, the rate has reached nearly ten times faster than normal"
23.11.2010, 19.00
Labyrinth Gallery
http://www.alevtinakakhidze.com 
Alevtinie Kakhidze envy. She found a way to fulfill their dreams and meet the (tame?) Desire to have (not having - in the classic sense of the word). She began by drawing fishnet goods from luxury boutiques in Maastricht. She came from Ukraine and it stunned the glitz western consumerism. Drew objects that intrigued her with his bizarre, made up utility - ring on handkerchiefs, postcards racks, Newspaper containers. In the Soviet Union had set up in a queue to buy a table - and there, in the western paradise, were not only tables of all colors and textures but also the most bizarre ornaments to these tables. The drawings, which have resulted from the aspiration of the poor citizen of the East West culture of excess, not a single record. Became the basis for numerous installations were photocopied thousands of copies (by analogy with mass production), these specimens landed later in the exhibition showcases not only galleries but also in the shop Prada. Drawing from the small and relatively cheap things Alevtina dizajnerskich moved to a more stylish then. Discovered the auction houses - fascinated her cup Flora Danica valued at 60 thousand. euro - so it was a series of old books. The value of each figure corresponds to the real value of the drawn object. Fun
Alevtiny like fun in the magic pencil - but exactly the opposite. In the fairy tale that's what drew became real, au Alevtiny what turns into a real figure.
Alevtina says (actually repeats after his professor): In today's world we can buy everything, we have a lot of things, but this is disgusting. At some point you start thinking that more luxury will be getting rid of things.
Luxury empty space leads to the art gallery. Of course you can buy art and people do it for various reasons. Alevtina itself determined collector. But there is a collector of the higher caste - can be anything you draw. Cindy Scherman wants to work - it redraws. Cindy has made only three editions of this project - so Alevtina kseruje his drawing two more times. What next awaits our heroine in her quest for exotic, attempt to touch the untouchable? Some time later, Alevtina invented the it to fly private plane. I flew, accompanied by reporters, photographers and bloggers. Allowed themselves the luxury of no-documentation, and thus the aerial journey was not any figure. Documentation left his comrades.
And this is a short history of a cunning girl from the Eastern bloc, which took a hit the world of western art.
You can look at it in terms of controlled rebellion, the virus in the system, which over time is its familiar and przygarnięty, there is some contradiction and a paradox, of which Alevtina well aware. You can not surely refuse her passion and indefatigable energy. The life of an artist who travels around the world still is not easy for relatives and actually subject to constant negotiation. For several years, Alevtina conducts negotiations with her husband. After numerous travels through residential centers in the world the couple established their own center of artistic residencies. It was a good way to keep her at home, finally. It is located in Muzychi near Kiev. This year's projects are not the most important criterion for the selection of residents. Important is the opportunity to spend time together and - can also - create art.
staged Alevtiny Kakhidze
lecture "The Evolution of consumer desires, the rate has reached nearly ten times faster than normal"
23.11.2010, 19.00
Labyrinth Gallery
http://www.alevtinakakhidze.com
Wednesday, October 13, 2010
Flu Eyes Red And Mucus
Nigel Rolfe. Labyrinth Gallery
European performance Dream
Just got back from a festival performance in 2010 in Warsaw EPAF Ujazdowski Castle, where at night in the sweat produced relationship with what is done there (with the help of Pauline and Tom Kemp Majerski), but here again performance in Lublin. And it is at its best. Nigel Rolfe was a special guest in Warsaw, two days later presented in the Gallery of Labyrinth performance. I managed to recover slightly after Warsaw's carousel and next time I devoured poetic world of performance art. Nigel Rolfe two actions in spite of similar design (objects, video, audio) are completely different and significantly differed from what the artist was doing before, such as the Performance Platform . Yesterday she had a remarkable magic, perhaps because of the person of the artist, may well have arranged the space (and tightly filled with people, making it fit the theme, as discussed below).
What's the most moving view of Majdanek? What a visual trace of the Holocaust is there the most current? It has always seemed to me that the blue spots on the walls of the gas chambers, Zyklon B, which wgryzł the walls and created the scenic designs on them. On the video projection in the performance by Nigel Rolfe was visible a small room with the door closed. About what is this place, spoke barely visible dark stains on the walls. Irish artist reaches for the Prussian Blue aware of its references in this place, in the city where the former German camp concentration. At the same time accompanied by the conviction that what the artist operates only detail removed from reality, a pigment of intense color. Not juggling symbols not wallows in martyrdom, and avoids cheap sentimentality. Its role is to create meaningful images.
Performance took place in the lower part of the room in the Gallery of Labyrinth. He stood at a table covered with white cloth, was surrounded by several items. Behind him was projected with a static image of said interior gas chamber. She was accompanied by sound. This was the original recording and joyous toting, battle songs sung by Hitler for Hitler. It reminded of Hitler's dream of a Europe united in the great spirit of the fascist. Also showed how the poetry was harnessed in the service of ideology, as in the memorable song Tomorrow Belongs To Me Cabaret of . To this day, as you listen to the Nazi songs they overwhelm you with their beauty. It is paradoxical beauty collides with the reality of ghostly empty the gas chambers.
Prussian blue is the color of toxic and its beauty is deceptive. He talked about this in a very poetic way. He poured water on the white wall, thin stróżki poured on the floor. He took the gold stuck a funnel, poured a teaspoon of pigment, he approached the wall and blew. Blue splash is settled on the wet stróżkach, delicate white dust covered the surface. Rolfe repeated this movement several times. Delicate traces of air created by wydmuchiwanemu referred to the visible traces on the projection of the deadly gas that wżarły the walls. However, they were something much more ephemeral, like a distant echo of a difficult history, which forms a pretty pattern on the wall like a photograph of Jan Saudek. Artist put on the wall metal container, poured a flammable substance to it and lit it. Strong flame lit the dark, acrid smoke hung in the air and made the small space of a gallery packed with people even shrunk. She began to resemble that which was displayed on the video. Gray smoke darkened the picture on the wall. Interestingly, the manipulation of substances and the space was not like the theater was something experienced at a given time, work on the senses, meant that sterile place was suddenly something tight, disturbing.
Another important element during the performance by Nigel Rolfe gold is compressed a fist - a symbol of decadence, power, arrogance and corruption. Is associated with vanity, greed, desire for recognition. Gold fist in a way the icon of our times. He displayed a picture of the golden fists in the first room of the labyrinth. In the room next to the thought process of its creation - to his palm naklejał gold flakes. Delicate, elusive material melting the hand has ceased to be fragile, has changed into something monumental and powerful. To paraphrase the words of the song Brand Grechuta, the hand slowly deform the Squeeze your fist.
All items in the performance by Nigel Rolfe formed themselves into a coherent composition, the importance of dopowiadały, whispered, stemmed from one another, referring to a passage in our common history, which turned up to the present. Gold and blue color mean points of the story. Are its projections. Performance Artist operates only images - and even a smaller component of the image - color. Drawing seems to be here the beginning and end of the cohesive creative process during the performance - the artist comes from the drawing, which forms the basis of imaginary images - and the figure is over.
remains of the operation was a blue dust on the wall, dispersed pigment on the table and the smell of smoke in the air.
photographs courtesy photo gallery Labyrinth
Diana Kołczewska 
European performance Dream
Just got back from a festival performance in 2010 in Warsaw EPAF Ujazdowski Castle, where at night in the sweat produced relationship with what is done there (with the help of Pauline and Tom Kemp Majerski), but here again performance in Lublin. And it is at its best. Nigel Rolfe was a special guest in Warsaw, two days later presented in the Gallery of Labyrinth performance. I managed to recover slightly after Warsaw's carousel and next time I devoured poetic world of performance art. Nigel Rolfe two actions in spite of similar design (objects, video, audio) are completely different and significantly differed from what the artist was doing before, such as the Performance Platform . Yesterday she had a remarkable magic, perhaps because of the person of the artist, may well have arranged the space (and tightly filled with people, making it fit the theme, as discussed below).
What's the most moving view of Majdanek? What a visual trace of the Holocaust is there the most current? It has always seemed to me that the blue spots on the walls of the gas chambers, Zyklon B, which wgryzł the walls and created the scenic designs on them. On the video projection in the performance by Nigel Rolfe was visible a small room with the door closed. About what is this place, spoke barely visible dark stains on the walls. Irish artist reaches for the Prussian Blue aware of its references in this place, in the city where the former German camp concentration. At the same time accompanied by the conviction that what the artist operates only detail removed from reality, a pigment of intense color. Not juggling symbols not wallows in martyrdom, and avoids cheap sentimentality. Its role is to create meaningful images.
Performance took place in the lower part of the room in the Gallery of Labyrinth. He stood at a table covered with white cloth, was surrounded by several items. Behind him was projected with a static image of said interior gas chamber. She was accompanied by sound. This was the original recording and joyous toting, battle songs sung by Hitler for Hitler. It reminded of Hitler's dream of a Europe united in the great spirit of the fascist. Also showed how the poetry was harnessed in the service of ideology, as in the memorable song Tomorrow Belongs To Me Cabaret of . To this day, as you listen to the Nazi songs they overwhelm you with their beauty. It is paradoxical beauty collides with the reality of ghostly empty the gas chambers.
Prussian blue is the color of toxic and its beauty is deceptive. He talked about this in a very poetic way. He poured water on the white wall, thin stróżki poured on the floor. He took the gold stuck a funnel, poured a teaspoon of pigment, he approached the wall and blew. Blue splash is settled on the wet stróżkach, delicate white dust covered the surface. Rolfe repeated this movement several times. Delicate traces of air created by wydmuchiwanemu referred to the visible traces on the projection of the deadly gas that wżarły the walls. However, they were something much more ephemeral, like a distant echo of a difficult history, which forms a pretty pattern on the wall like a photograph of Jan Saudek. Artist put on the wall metal container, poured a flammable substance to it and lit it. Strong flame lit the dark, acrid smoke hung in the air and made the small space of a gallery packed with people even shrunk. She began to resemble that which was displayed on the video. Gray smoke darkened the picture on the wall. Interestingly, the manipulation of substances and the space was not like the theater was something experienced at a given time, work on the senses, meant that sterile place was suddenly something tight, disturbing.
Another important element during the performance by Nigel Rolfe gold is compressed a fist - a symbol of decadence, power, arrogance and corruption. Is associated with vanity, greed, desire for recognition. Gold fist in a way the icon of our times. He displayed a picture of the golden fists in the first room of the labyrinth. In the room next to the thought process of its creation - to his palm naklejał gold flakes. Delicate, elusive material melting the hand has ceased to be fragile, has changed into something monumental and powerful. To paraphrase the words of the song Brand Grechuta, the hand slowly deform the Squeeze your fist.
All items in the performance by Nigel Rolfe formed themselves into a coherent composition, the importance of dopowiadały, whispered, stemmed from one another, referring to a passage in our common history, which turned up to the present. Gold and blue color mean points of the story. Are its projections. Performance Artist operates only images - and even a smaller component of the image - color. Drawing seems to be here the beginning and end of the cohesive creative process during the performance - the artist comes from the drawing, which forms the basis of imaginary images - and the figure is over.
remains of the operation was a blue dust on the wall, dispersed pigment on the table and the smell of smoke in the air.
photographs courtesy photo gallery Labyrinth
Diana Kołczewska
Saturday, September 4, 2010
Swelling And Headache After Delivery
Tomas Malec Exhibition in Zacheta
first after the summer exhibition at the Gallery for the Encouragement of Lipowa 13 is fresh and surprising. Tom Malec, who lives and works in Lublin offers customers a visual game lined with a touch of perversity, which stand at the basis of experience in dealing with human beings and especially in relationships with women. Sterile fill the gallery space, flat iconic prints and photographs that deal with clean synthetic character and one installation.
signs constructed by Malec - though they have their source in the actual shape, form only a semblance of reality and maybe even a reversal in the extreme aesthetic form. He transposes the fragments of reality into the realm of art - it selects the interesting shapes, letters, words, symbols and cleanses the accumulated stereotypes, reduces to the form. What is the resulting distillate? The winding shaped parasite and Japanese letters reflected the reality of a distant echo of those carefully cut from its components will become a contribution to the discussion about relationships, about love, about sex.
Banana and lemon, a boy and a girl. And sex
exhibition was constructed in a very interesting way - clears the senses at the intersection of age-old dichotomy between nature and culture, reality and art. The boy deftly moves on the outskirts of these dichotomies. Draws attention to this exhibition's curator, Magda Linkowska writing about the work Guide and Primer : artist tries to show the prudery of a culture that robs from the mystery that makes the defenseless, excels in what is the most innocent hiding under a blanket of education, development and science. It uses the concept of duality of nature and culture in order to show how both turn against man (...) Culture receives nature of the protective film, and nature comes to the fore in its aggressive and ruthless manner. guide and primer - children learn from them how to understand the world. Malec provides the names of the photographs of banana and lemon, the peel and without, in color and black and white. Simple picture, like a cut from the elementary ('s banana, lemon here) automatically return to the realm of sex (the automatism associations said in the 70s, Natalia LL, in its consumer Art.) Display
male and female element in the form of a banana and lemon is a mocking comment to the ability to put forward both Our association and shallowness, emptiness in sexual relationships. Photographic images of fruits complement each other and comment on the statements of women and men spisanymi in the form of mini-scenarios. Dialogues without dashes arranged in poetic texts - do not know who to whom he says, the questions are loosely associated with the answers. The texts appear to be an amalgamation of impressions, stuck together from fragments of conversations, questions frantically uttered during sex, fantasy spun by the lovers. In these quasi-poetic forms Malec has a whole range of ambiguities of sex.
At this point reveals the essence of the situation outlined by him. Well, the dissonance between the drawing and text - smooth banana without a word and asking for sex in the bathtub - is only apparent. Fresh, enticing fruit and rotten, carefully stuffed into them, passion and performance during the relationship and dialogue in a secret bedroom-turned-lined harmless perversion, a fiction film and my own experience, casual sex in a supermarket and a long-standing relationship - somewhere that's all intertwined with each other and passes. Experiencing the world in all its heterogeneity becomes a singular contribution to the creation of synthesis, A primer which is and Handbook. The artist with the elementary forms, colors and loose constructs sentences "First Pictures", "first sentence" removed from reality, symbolic, naked in its simplicity.
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Let's go to the Academy of Medicine watch the preparations and talk to us at the end due
meandering structure of a pale yellow color are the representation of the shape of dangerous human parasites: roundworm and threadworm. Large-format templates under the single title Love in the twenty-first century . Dirty, musty reality with which the artist draws a world of micro-organisms feeding on their hosts and their metaphorical equivalent in the macroscale - unclear, toxic relationship between man and woman, in which a second parasite, sucking the juices of life, and it draws several advantages. Raw, extremely wyestetyzowane images thus refer to something robaczywego, contaminated, morally ambiguous. Tomas Malec uses bright yellows and whites, operates a simple form. I'm talking about sensitive things - he says - images are ephemeral and illusory. Here are the boundaries that can not be exceeded. Looking for the appropriateness of the visual. Parasites were prepared for sterile art gallery exceed the threshold and invest in two dimensions - vertically and horizontally covered with linen, white cloth. The impression crude ornaments, only their rounded, curled shape of cheating, so the viewer has to do. The fabric, which raises the need to reveal the association with the autopsy table and the cloth that covered the corpse. Malec, tells the recipient to look at her and see squirming roundworms - which is nothing short of spectacular given flourish.
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Next prints and photographs at the exhibition there is a spatial form. Judas is an installation consisting of a pane of glass the size of the front door and a viewfinder, "spy" and painted white. He turns classical order and make the conversion functions - everything you see through a glass door and a peephole remains closed and there is nothing he can see. Conscious afunkcjonalność peephole in a glass door makes the object is paradoxical. A situation in which what was to hide reveal, and what is closed and turns reveal the pattern of perception. Magda Linkowska interpreting this work goes back to the Bible and the ambiguous figure of Judas - Judas or a traitor or he who aware of the plan of salvation laid down his life for the love of Jesus? Did Judas is the one that his behavior reveals something to us or overshadowing? glass doors with a concealed spy in the contemporary context is the image of prudery and game appearances.
Love in the Time of Cholera
starting point is love. It would seem that open maudlin about it, and spat przemielony hundreds of times by artists of various stripes. But here's a surprise waiting for the recipient. If it receives information that the exhibition is a love it already looked, probably will be surprised. If you find out - that as I am, at the opening of the curator and artist, will be traced back to these expressions of love and may meet with some resistance matter. Economical and seemingly light in the reception of prints, photographs and installation are a kind of lapidary comment, an ironic statement on what is important, what gives life a blush.
Love in the twenty-first century. What does this mean? Instead of the spiritual unity - the unequal distribution of roles in the donor and recipient, rather than compliance - failure and dysfunction. Love is marked by lack and disappointment. Love is an illusion. Love hurts. Fortunately, that life does not consist of the same love because it would be too cruel - Tomas Malec said opening his own exhibition.
Megalomania - Japanese letters outlined author's name symbolically crowns the work of the exhibition, represents both its own dysfunction as well as the artistic world of a virus self-centredness, self-love. Megalomania Thomas Malec is a kind of ironic stamp / signature - this is an artist I sell you my sterile packaged emotions and experiences, which in any case, in most can not read and understand. The boy seems to have the situation of the artist and the recipient of a healthy distance, nor overestimate its importance or diminish.
cycle has been created for this exhibition by the artist and curator of the works created at different times. Despite the autonomy of the individual work he puts in a surprisingly coherent whole, the individual elements meet each other, and ongoing mutual dialogue. The exhibition reflects the uncompromising attitude of the artist, who continues to closely observe the world and sublimate their observations in the ascetic paintings, composed with great precision and sense of form.
photo Tomasz Malec
photo from the opening Kaja Kurczuk 
first after the summer exhibition at the Gallery for the Encouragement of Lipowa 13 is fresh and surprising. Tom Malec, who lives and works in Lublin offers customers a visual game lined with a touch of perversity, which stand at the basis of experience in dealing with human beings and especially in relationships with women. Sterile fill the gallery space, flat iconic prints and photographs that deal with clean synthetic character and one installation.
signs constructed by Malec - though they have their source in the actual shape, form only a semblance of reality and maybe even a reversal in the extreme aesthetic form. He transposes the fragments of reality into the realm of art - it selects the interesting shapes, letters, words, symbols and cleanses the accumulated stereotypes, reduces to the form. What is the resulting distillate? The winding shaped parasite and Japanese letters reflected the reality of a distant echo of those carefully cut from its components will become a contribution to the discussion about relationships, about love, about sex.
Banana and lemon, a boy and a girl. And sex
exhibition was constructed in a very interesting way - clears the senses at the intersection of age-old dichotomy between nature and culture, reality and art. The boy deftly moves on the outskirts of these dichotomies. Draws attention to this exhibition's curator, Magda Linkowska writing about the work Guide and Primer : artist tries to show the prudery of a culture that robs from the mystery that makes the defenseless, excels in what is the most innocent hiding under a blanket of education, development and science. It uses the concept of duality of nature and culture in order to show how both turn against man (...) Culture receives nature of the protective film, and nature comes to the fore in its aggressive and ruthless manner. guide and primer - children learn from them how to understand the world. Malec provides the names of the photographs of banana and lemon, the peel and without, in color and black and white. Simple picture, like a cut from the elementary ('s banana, lemon here) automatically return to the realm of sex (the automatism associations said in the 70s, Natalia LL, in its consumer Art.) Display
male and female element in the form of a banana and lemon is a mocking comment to the ability to put forward both Our association and shallowness, emptiness in sexual relationships. Photographic images of fruits complement each other and comment on the statements of women and men spisanymi in the form of mini-scenarios. Dialogues without dashes arranged in poetic texts - do not know who to whom he says, the questions are loosely associated with the answers. The texts appear to be an amalgamation of impressions, stuck together from fragments of conversations, questions frantically uttered during sex, fantasy spun by the lovers. In these quasi-poetic forms Malec has a whole range of ambiguities of sex.
At this point reveals the essence of the situation outlined by him. Well, the dissonance between the drawing and text - smooth banana without a word and asking for sex in the bathtub - is only apparent. Fresh, enticing fruit and rotten, carefully stuffed into them, passion and performance during the relationship and dialogue in a secret bedroom-turned-lined harmless perversion, a fiction film and my own experience, casual sex in a supermarket and a long-standing relationship - somewhere that's all intertwined with each other and passes. Experiencing the world in all its heterogeneity becomes a singular contribution to the creation of synthesis, A primer which is and Handbook. The artist with the elementary forms, colors and loose constructs sentences "First Pictures", "first sentence" removed from reality, symbolic, naked in its simplicity.
.jpg)
.jpg)
Let's go to the Academy of Medicine watch the preparations and talk to us at the end due
meandering structure of a pale yellow color are the representation of the shape of dangerous human parasites: roundworm and threadworm. Large-format templates under the single title Love in the twenty-first century . Dirty, musty reality with which the artist draws a world of micro-organisms feeding on their hosts and their metaphorical equivalent in the macroscale - unclear, toxic relationship between man and woman, in which a second parasite, sucking the juices of life, and it draws several advantages. Raw, extremely wyestetyzowane images thus refer to something robaczywego, contaminated, morally ambiguous. Tomas Malec uses bright yellows and whites, operates a simple form. I'm talking about sensitive things - he says - images are ephemeral and illusory. Here are the boundaries that can not be exceeded. Looking for the appropriateness of the visual. Parasites were prepared for sterile art gallery exceed the threshold and invest in two dimensions - vertically and horizontally covered with linen, white cloth. The impression crude ornaments, only their rounded, curled shape of cheating, so the viewer has to do. The fabric, which raises the need to reveal the association with the autopsy table and the cloth that covered the corpse. Malec, tells the recipient to look at her and see squirming roundworms - which is nothing short of spectacular given flourish.
.jpg)
Next prints and photographs at the exhibition there is a spatial form. Judas is an installation consisting of a pane of glass the size of the front door and a viewfinder, "spy" and painted white. He turns classical order and make the conversion functions - everything you see through a glass door and a peephole remains closed and there is nothing he can see. Conscious afunkcjonalność peephole in a glass door makes the object is paradoxical. A situation in which what was to hide reveal, and what is closed and turns reveal the pattern of perception. Magda Linkowska interpreting this work goes back to the Bible and the ambiguous figure of Judas - Judas or a traitor or he who aware of the plan of salvation laid down his life for the love of Jesus? Did Judas is the one that his behavior reveals something to us or overshadowing? glass doors with a concealed spy in the contemporary context is the image of prudery and game appearances.
Love in the Time of Cholera
starting point is love. It would seem that open maudlin about it, and spat przemielony hundreds of times by artists of various stripes. But here's a surprise waiting for the recipient. If it receives information that the exhibition is a love it already looked, probably will be surprised. If you find out - that as I am, at the opening of the curator and artist, will be traced back to these expressions of love and may meet with some resistance matter. Economical and seemingly light in the reception of prints, photographs and installation are a kind of lapidary comment, an ironic statement on what is important, what gives life a blush.
Love in the twenty-first century. What does this mean? Instead of the spiritual unity - the unequal distribution of roles in the donor and recipient, rather than compliance - failure and dysfunction. Love is marked by lack and disappointment. Love is an illusion. Love hurts. Fortunately, that life does not consist of the same love because it would be too cruel - Tomas Malec said opening his own exhibition.
Megalomania - Japanese letters outlined author's name symbolically crowns the work of the exhibition, represents both its own dysfunction as well as the artistic world of a virus self-centredness, self-love. Megalomania Thomas Malec is a kind of ironic stamp / signature - this is an artist I sell you my sterile packaged emotions and experiences, which in any case, in most can not read and understand. The boy seems to have the situation of the artist and the recipient of a healthy distance, nor overestimate its importance or diminish.
cycle has been created for this exhibition by the artist and curator of the works created at different times. Despite the autonomy of the individual work he puts in a surprisingly coherent whole, the individual elements meet each other, and ongoing mutual dialogue. The exhibition reflects the uncompromising attitude of the artist, who continues to closely observe the world and sublimate their observations in the ascetic paintings, composed with great precision and sense of form.
photo Tomasz Malec
photo from the opening Kaja Kurczuk
Sunday, August 29, 2010
How To Make A Flower With Polar Function
BABY WITH THEIR wards
Nanny for every situation and in all weather conditions - several years of professional experience - references. Cultural
, communicative, responsible, conscientious and honest, punctual. I'm very enthusiastic, cheerful attitude and openness, assertiveness and tact. I can quickly, efficiently and to react in crisis situations. I use the correct Polish language and I have no speech impediment. For me, working with children is a pleasure to easily establish contact with the child. Spending time with your toddler brings much joy and satisfaction, although childcare is not an easy task, it requires many sacrifices, and the focus of attention. Always working with parents - I am a person who can adapt to the educational methods of parents and I'm open to any suggestions of parents. Guarantee security, happy days, full of smiling children and support for young mothers. It is important to me satisfaction ward and his parents, so I appreciate the honesty and openness. I put heart into what I do and what makes me happy, I can look at the world through the eyes of I understand the needs of the child and the little explorer. I can hug, kiss, much to translate, and to be consistent when you have to - I'm also a calm and balanced when the toddler mess and I can scold appropriately if necessary. I can also turn to the fairy, if the need arises, play with the tag, also encourages the eater to eat dinner - but never force myself to eat. We are happy to spend time outdoors, not afraid of me are rain or cold weather (of course the priority is the health of the child). All the fun match to the age, abilities, being of the baby - I care about is that every day was different from previous games with new games, puzzles, learning through play, reading books, learning shapes, colors, pasting miscellaneous plasticine, clay, learning the parts of the body, identifying times of day and year recognition of geometric figures, animals and distinguishing their sounds, "singing" (in my performance would be better to not listen to the music scholar, but kids like it), dancing, tiling, painting, drawing, making bracelets, beads, crowns, masks, houses for dolls made of cardboard or mebelków - for boys doing or building bases, shelters, garages, bonding models, riding, flying, floating, cutting, making little men of the acorns, chestnuts, making bunches of leaves, a common "cooking", as well as translations of things new and incomprehensible to the surrounding world. I try to inspire creativity in maluszkach, curiosity, independence and pugnacity. My extensive interest and passion for all walks and movement activities will certainly be very helpful in interest to child care forms and cheerful fun. I'm ready to accept any of the hours and days of work. I am spontaneous, but obligatory, crazy, but responsible, easy to build new relationships and have a great sense of humor. I know the main principles of first aid and, above all, I have an instinct that tells me what to do in different situations because I am a mother and every child in my care as I treat my own.
She is also up to 3 children at the approximate age and it was not a problem - well you suggest.
hourly rate depending on number of hours during the day or night. Approximate
Fees:
hours. daycare daily from 8:00 to 18:00 - 15 zł / h
hours. care at night from 18:00 to 7:00, Saturday and Sunday. 20 zł / h
If you end up in care hours. 22:00 - 6:00 Please taken home to your home or taxi expenses (due to my safety - I hope you will understand)
Nanny for every situation and in all weather conditions - several years of professional experience - references. Cultural
, communicative, responsible, conscientious and honest, punctual. I'm very enthusiastic, cheerful attitude and openness, assertiveness and tact. I can quickly, efficiently and to react in crisis situations. I use the correct Polish language and I have no speech impediment. For me, working with children is a pleasure to easily establish contact with the child. Spending time with your toddler brings much joy and satisfaction, although childcare is not an easy task, it requires many sacrifices, and the focus of attention. Always working with parents - I am a person who can adapt to the educational methods of parents and I'm open to any suggestions of parents. Guarantee security, happy days, full of smiling children and support for young mothers. It is important to me satisfaction ward and his parents, so I appreciate the honesty and openness. I put heart into what I do and what makes me happy, I can look at the world through the eyes of I understand the needs of the child and the little explorer. I can hug, kiss, much to translate, and to be consistent when you have to - I'm also a calm and balanced when the toddler mess and I can scold appropriately if necessary. I can also turn to the fairy, if the need arises, play with the tag, also encourages the eater to eat dinner - but never force myself to eat. We are happy to spend time outdoors, not afraid of me are rain or cold weather (of course the priority is the health of the child). All the fun match to the age, abilities, being of the baby - I care about is that every day was different from previous games with new games, puzzles, learning through play, reading books, learning shapes, colors, pasting miscellaneous plasticine, clay, learning the parts of the body, identifying times of day and year recognition of geometric figures, animals and distinguishing their sounds, "singing" (in my performance would be better to not listen to the music scholar, but kids like it), dancing, tiling, painting, drawing, making bracelets, beads, crowns, masks, houses for dolls made of cardboard or mebelków - for boys doing or building bases, shelters, garages, bonding models, riding, flying, floating, cutting, making little men of the acorns, chestnuts, making bunches of leaves, a common "cooking", as well as translations of things new and incomprehensible to the surrounding world. I try to inspire creativity in maluszkach, curiosity, independence and pugnacity. My extensive interest and passion for all walks and movement activities will certainly be very helpful in interest to child care forms and cheerful fun. I'm ready to accept any of the hours and days of work. I am spontaneous, but obligatory, crazy, but responsible, easy to build new relationships and have a great sense of humor. I know the main principles of first aid and, above all, I have an instinct that tells me what to do in different situations because I am a mother and every child in my care as I treat my own.
She is also up to 3 children at the approximate age and it was not a problem - well you suggest.
hourly rate depending on number of hours during the day or night. Approximate
Fees:
hours. daycare daily from 8:00 to 18:00 - 15 zł / h
hours. care at night from 18:00 to 7:00, Saturday and Sunday. 20 zł / h
If you end up in care hours. 22:00 - 6:00 Please taken home to your home or taxi expenses (due to my safety - I hope you will understand)
How To Get Cold Out Of My Baby's Throat
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